Rock Island daily Argus. (Rock Island, Ill.) 1886-1893, 1887-12-30
ARTISTS AND MODELS.
A JOURNALISTS FIRST EXPERIENCE
IN A DIFFICULT POSE.

IN A DIFFICULT POSE.
Hard Work and Sometimes Pretty Good |
Pay-Trying to the Muscles-The Pro- |
fession In Paris-The studios Of New
York City.
J. was simply cheerful room, full of light |
and unornalrlanted save by few clever
sketches and one painting of more than aver
age merit. Near the window was a table
holding board to which piece of white
paper was tackled At the table was young
man whose hair, eyes and skin showed a
Latin origin-a dreamy enough fellow, when
idle, but as lively, energetic and practical
from . a. m until p. m. in the afternoon as
druggists clerk. In one corner was hide
Gus lay figure, in the centre of the room
standing on a trunk, with legs apart, chin in
the air and one hand outstretched-rigid and
statuesque-the writer.
'sls posing hard" had asked unwarily.
''Suppose you try it, said the artist; and l
did was supposed to be grasping the hand
of a tall friend. The artist had put me on
the trunk, in order, he said, to get the hang
of my trousers. Now, keep still" said he
1t seemed easy enough at first to stand up
| there and do nothing.
How much do models get for thisln l
asked
lit depends upon the model. Some get IS
| a day, some as much as that an hour.n
| Pretty good business" l remarked. l
| could see his face in the mirror, and at this
he smiled quietly. Every now and then he
would shut his eyes and look at me ap-
parently through the lashes What are you
| squirting at me that way forl"
| Process of elimination" he said; "cut-
ting off everything but your figure" Then
he took up his pencil and took sight at me-
Getting your proportions he explained.
Haven't you movedf' he added abruptly.
My left foot was going to sleep and had
shifted my weight to the other. You see, !"
went on the artist after had shifted back,
''you confuse shadows, outlines, everything
by changing your position"
Go ahead, l said, gritting my teeth.
well, don't move and I'll give you a rest
presently" | counted the figures on the
wall paper as far as could see them without
turning my head. l counted 900 backward,
an imaginary flock of sheep. l tried the
mind cure, but l grew faint Something
moist began to triekle down my spinal
column. My arm was paralyzed
"You needn't hold that arm out now" re-
; marked the artist at length Il forgot to
tell youn Forgot to tell mel Good Heavens
He had settled to work now in earnest. He
was getting enthusiastic. His face grew
stern and business like, and he forgot that
was posing for pleasure.
Chin up, he called out sharply. What,
the matter with those knees. Look pleasant
Stuck out that arm again. Don't move foi
your life,n Every time he squinted he lookeC
like tiend.
STEADY, nown steadied myself with on,
more effort, but it was no use. had the hil
disease, spinal meningitis and diphtheria
and general paralysis had set in. | couldn'
9 stand it longer, and down collapsed on tn
trunk The artist flourished his pencil il
triumph. 'Just in time" he cried "Fv
got YOU Then he laughed
is posing hardf' he asked, pleasantly
Y you've been up thirty-three minutes in
bad position-pretty good for first trial
Some models can pose for an hour in q diff
1t cult position without moving a muscle, bu
r. it takes training, and it's hard work
s. SIT is hard for people to understand b
% continued, presently, that posing is purel
!. a matter of business with artist and modt
that all other suggestions are entirely absenI
In Paris posing is more of a profession tina
= it is here; naturally, because the deman
there for models is greater and has existe
4 longer. Every Monday morning at the a.
] schools the models present themselves fc
enployment A model must not only have
good figure, but she ought to be young an
N unmarried.
IL sYes. there are lots of handsome studio
NJ here in New York he said, between ii
4 puffs of a cigarette ''The hope of the youn
artists life is a studio He thinks he can
nothing until he has curtains, rugs, dagge
and thousand knickknacks which he fanci
| INDISPENSABLE. Now, all that is an illusio
81 The men of the strongest imaginative tempe
y aInents prefer the plainest surroundings pc
/ ! sible. If ones mind is concentrated in b
q work he ought to be conscious of nothir
Z else. as old St Bernard could travel q
dey by u lake and never see it. Goetl
=, worked in little narrow room with tv
i;nSl tiny windows, one plain table, one plai
INF hard chair; long shelf for books, clos
eh attached for bedroom, which held O
The chair. a little washing table and
sponge. You Woulu ldncs lhai Du
is couldn't have too much gorgeousness abo
All hun, and yet his studio contained only
t BILE, covered with tubes of oil color, a
two cheap chairs. Turner could work in a
. room that had locked door and a key
,u the inside. Dickens wrote in a cheerf
HI comfortable room, and he always had fun
little bronze images on the table. Sc
rs wrote anywhere, even in the family sitti
room. with hubhub of conversation abe
him.
s.It isn't theory Alone" he concluded
cosely, that keeps me In these quarters.
> is not because think these surroundings
the best aid to my imagination. Still, it,
comfort to know that other great men hs
" voluntarily selected Just such an envir
ment as thisr-"J. W. F." in New Y
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